Jim Jupp (Belbury Poly) and Jon Brooks (The Advisory Circle) metamorphosize into The Belbury Circle, incorporating their pal John Foxx on two tracks of Outward Journey.
Pulsing with proggy soft trance riffs and draped in nocturnal atmospheres, it’s one for driving your car late at night thru the conurbations, commuter villages and gentrified docklands of a pensive Brexit Britain, turning up two standout moments in the John Foxx-led highlights of Forgotten Town and the beautifully wistful Trees, with plenty of time of reflection over your milky tea on Café Kaput and the twinkly gaze of Departures Inc, with a wistful guitar solo worthy of an Alan Partridge-style despairing breakdown in a lay-by.
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Richard Chartier ponders another poignant predicament as Pinkcourtesyphone with Indelicate Slices, the project’s ninth full length, arriving after sojourns to The Tapeworm and Champion Version in recent seasons.
This is contemporary ambient music at its most opulent and intoxicating, sashaying rococo corridors of gold and red velvet smudged to shimmering pink hues, spinning solipsistic thru a permanent twilight zone of pharmaceutical haze, self-medicated and shielded to an omnipresent darkness that lurks beyond the rose beds.
It’s immaculately smashed and illusive music that slips under the skin and stimulates the imagination with uncanny efficiency, emulating none-more-rarified feels between the old world elegance of Romantic Threat and the digital drizzle of In Voluptuous Monochrome, secreting some stunningly sensitive, psychedelic passages in the 24 minute piece Minimumluxuryoverdose and the 12 minutes of OOBE like plasmic suspense of Above Chandeliers, with the systolic pulse of Problematic Interior rendering something like a recording of an anechoic panic room.
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35 song set which is also being released via three single LPs. We were gonna write summat on these but decided to copy/paste these sales notes cos they're just too fucking funny. nice one Alan.
"If you really want to know more about the music, search for the LP version descriptions online (I'm sure they were copy/pasted across many websites) where you'll discover a treasure of valuable assessments contained within. This two-CD edition is primarily being made available to facilitate 41 of my 133 'fans' who will be thrilled that it comes out on Compact Disc -- and at an affordable price in comparison to what buying all three LPs would cost. I think I pressed at least 172 copies of this two-CD so there is room for another 39 'fans' to climb aboard my champion ship. I keep hearing that many of the CDs you've acquired in the past don't work anymore. CDs are supposed to rot, scratch and die after a few years and have therefore become a flawed medium. Sounds more like a pragmatic description of humanity to me. But I have thousands of CDs. Some are commercially manufactured discs and the rest are CDRs and every single one of them works.
Yep, I hired a bearded guy from New Hampshire to check them all and many are 10, 15, or 20 years old. But my mother always told me I was blessed. Or perhaps I have a magic CD player? But people used to say the same about cassettes and now tapes are the cat's fuckin meow. In fact, I know a record store owner who recently sold an entire car full of cassettes. So don't bring your CDs when you jump aboard Julijonas Urbonas' suicide roller coaster (which hopefully gets built soon in order to facilitate plenty of you imbeciles) -- leave them behind for others to enjoy. Getting back to my new album, go find my sampler on YouTube if you want to know what it sounds like. It's better than your new album, that's for sure. Maybe I'll have to do a cassette version of this record in the future so that I can write another one of these fuckin' promotional sheets."
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Never previously issued on vinyl - a super rare Library Music LP from Japan - the sublime soundtrack for a 1986 runway show of Japan’s Mitsuhiro Matsuda’s Nicole brand.
"Jun Fukamachi’s highly coveted Nicole (86 Spring And Summer Collection - Instrumental Images) album, originally recorded in 1986 for celebrated fashion designer Mitsuhiro Matsuda’s Nicole clothing brand and never officially available before.
Only ever distributed as a limited promotional item offered to attendees and participants of the 1986 fashion show for the Nicole brand’s Spring and Summer collection, Fukamachi’s moody magnum opus has become a sort of Holy Grail for fans of Japanese ambient, jazz, and synth music alike…and rightly so!
Meticulously conceived, smooth and subtle, Nicole sounds like it came from an ethereal land where Erik Satie and Art of Noise lived together, a sublimely cinematic listening experience perhaps best described by renowned Japanese music writer Masaharu Yoshioka aka The Soul Searcher:
If you are driving down the Autobahn at 160 km/h, or even 80 km/h, and Jun’s music starts playing on the car stereo, the windshield will instantly turn into your own personal silver screen.”
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Expanded (with 8 new tracks) version of Princess Nokia’s self-released debut mixtape, 1992 including the recently released single G.O.A.T. along with standouts such as the haunting, sharply pointed Brujas and the brassy bang of Kitana.
Assuming you’re cool af and already know the original mixtape, we’ll step right onto the new cuts, covering golden era hip hop in ABCs of New York and the backpacker beats of Goth Kid, plus a pure heat-seeking missile in the stuttering keys and drill bounce of Flava, and checking out on a deep south party flex with Chinese Slippers.
Heads will roll for this one!
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With this pair of challenging, longform vocal works - including a recording of Kurt Schwitters’ Ur Sonate which has long been banned from being recorded by his estate - restless sound explorer John Duncan steers the vocal themes of his beguiling LP, This Bitter Earth, into the avant dimensions he’s best known for occupying since the late ‘70s.
Mantra is a 33 minute exposition of extended vocal technique where Duncan’s own vocals are layered and faded across the stereo field in an hypnotic, glacial escalation of density, calving away into a passage of fiercely tempestuous noise and back to the vocals. To be fair, it sounds nothing like the straight-played This Bitter Earth songs, but a transcendent appeal is mutual to both works.
We’re not entirely sure why the state of Schwitters banned recording of his classic, dadaist sound poem Ur Sonate, but Duncan either does/doesn’t give a fuck and so here it is in its psychotomimetic glory, 23 minutes of alien tongue joined by a 14 -part chorus, produced by Yelena Mitrjushkina for Narkissos Contemporary Art Gallery, Bologna, in Duncan’s adopted home city.
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On-U Sound compile the first four albums - plus a bonus disc of unreleased dubs - from Adrian Sherwood and Lincoln “Style” Scott’s Dub Syndicate nearly 20 years since any were available on CD. Packaged in fine style with a 24-page booklet of archival photos and notes by On The Wire host and font of all dub knowledge, Steve Barker, consider it a definitive survey of early Dub Syndicate.
Disc 1 fixes up The Pounding System [1982] with extra cut, Gather At The River (Bonus Track); Disc 2 features One Way System [1983], including Blood Shed Dub as a bonus; Disc 3 is North Of The River Thames [1984] with Doctor Pablo’s Pablo’s African Blood addendum; Disc 4 is Tunes From The Missing Channel [1985]; and Disc 5 holds Displaced Masters, a collection of entirely Unreleased Versions From The Vault.
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Joachim Nordwall’s iDEAL catch Bob Bellevue, sound guy for NYC’s ISSUE Project Room, working hard at the biting point of electro-acoustic feedback with Yamaha Deluxe - a continuation of the powerful, element beauty contained within his Damned Piano 2CD for Anarchymoon Recordings.
Using the Yamaha CFIIIS PE Grand Piano alluded to in the title as a sort of resonant tone generator, Bellevue applies a matrix of speakers, amps, pickups, contact miss, microphones, pedals, and a laptop running SuperCollider, to render the instrument as hardly heard before, wrenching out something more akin to a Stephen O’Malley solo guitar performance, or even an imagined O’Malley duet with Reinhold Friedl.
The session breaks down to five uncompromising live performances, banking a mass of complex, reverberating harmonics from shearing hi-register tones to guttural subduction in the 1st part, then with a more patient temperament in the 2nd, making the grand joanna sound like a primeval, wounded beast in its dying minutes. The 3rd section expresses 20 minutes of liminal, Drumm-like tone control calving into cavernous growls and thunder, and the relatively brief part 4 transitions from barely perceptible bass presence to bone-rubbed shudders, with the 5th track expanding that aesthetic to sound like a location recording made in the bowels of sunken warship.
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What does the sun sound like? L’Orange, L’Orange, Gregg Kowalsky’s (Date Palms) first solo album in eight years, might have the answer.
"Its vivid music – sourced from analog synths and mixed on a laptop – arrives in rays of sound that shine skyward. There are many moods in each track, but the overarching aura is one of brightness and optimism. Hence the album title, which nods toward the radiant hue of our life-sustaining star.
The warm atmospheres of Miami (his birthplace) and Los Angeles (his home of 3years) infuse the luminous ambience of L’Orange, L’Orange. Kowalsky points to the album’s second track, “Maliblue Dream Sequence.” Its lapping synth waves mirror the time he spent working on the record at a friend’s home in the beachside city of Malibu. But you can hear echoes of blue “Tuned to Monochrome,” to the rising rhythm of “Pattern Haze,” to the sandy layers of “Ritual Del Croix.”
L’Orange, L’Orange isn’t just about brightness and bliss. It’s also about engrossing your mind – creating an omnipresence not unlike that shiny orange orb whose ubiquity defines our days and whose absence fills our nights. For Gregg Kowalsky, music can have that same kind of overpowering effect. The sounds of L’Orange, L’Orange can calm your nerves, warm your mood, and maybe even enlighten your mind."
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Definitive compilation drawing together the original Digital Soundbwoys of Jamaican Dancehall culture, compiled with the help of Steve Barrow.
Reggae music is made to be played in the Dancehall, it is a functionalist music of the highest order and in the early 1980's when producers started switching onto digital instrumentation, and found they could produce far more powerful and effective sounds to play on their friends rigs, the whole culture of Jamaican music changed irreversibly.
This first volume of the two part vinyl set collects a wicked selection of out-and-out classics from Yellowman's 'Bam Bam', Tenor Saw 'Pumpkin Belly', Chaka Demus & Pliers' international 1992 hit 'Murder She Wrote', Junior Murvin's nut crackin' 'Cool Out Son', Ini Kamoze's Taxi sound special 'World A Music', Cutty Ranks' 'Chop Chop' and tonnes more nice-up sounds. Of course there's the obligatory and massively interesting liner notes too from Steve Barrow and the glorious full colour picture sleeves in classic Soul Jazz style. If you're into any form of dance music today, you really have to pay your dues and invest in this wicked set of pure dance history.
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Call Super cocks a 2nd album of increasingly squirrelly electronics for Houndstooth, secreting the glittering nuts and bolts of his sound in a more fluid and dynamic brand of ambient techno mechanics.
Arriving three years on from his Suzi Ecto album, and a string of well-received DJ sets, solo 12”s and a collaboration with Beatrice Dillon over the interim, Arpo gathers Call Super’s recent studio thoughts in one place, coursing from mercurial IDM to jazzy flights of fancy and oneiric electro with a meticulous production style that’s become his trademark.
The ghosts of the 4th World, Red Planet martians, Irdiallian enigmas and golden era Warp haunt Arpo’s diffuse dimensions from the first chimes and clarinet plumes of Arpo thru the smoky electro-jazz of Out To Rust, following a silvery thread of logic that weaves between early hours dancefloor mindsets and late hours home listening from the glitchy hunch of OK Werkmeister to the sloshing brownian glitter of Music Stand, embracing Ethiopiques jazz in Arpo Sunk, and gently insistent future electro-funk with No Wonder We Go Under, and the hyaline electro-soul rubs of I Look Like I Look In A Tinfoil Hat.
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Acid Jesus was the first of many collaborations between Roman Flügel and Jörn Elling Wuttke.
Situated in Frankfurt's thriving techno scene (and it´s holy label trinity of Playhouse, Klang and Ongaku), Flügel and Wuttke succeeded with their own and unique take on a sound that owed as much to Underground Resistance and the Belleville Three as it did to Sven Väth and Andrew Weatherall.
This epic set includes their best material circa 1992-1998, including a host of previously unrleeased pieces.
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Restored and remastered by Chris Carter from 24bit 'baked tape' digital transfers of the original first generation analogue master tapes.
The tragic death of Peter 'Sleazy' Christopherson earlier this year signalled the end of Throbbing Gristle, whose surviving members are currently working to complete their final album before retiring the name. It couldn't be a more appropriate time to revisit their revolutionary records of the 1970s and 1980s, remastered by Chris Carter and reissued on Industrial Records.
Their first proper album, The Second Annual Report is essentially an edited collection of live and studio takes, and still sounds fresh and uncategorisable. 'Slug Bait' has lost none of its transgressive power: the ICA recording foregrounds Genesis P.Orridge's gleefully macabre lyrics (inhabiting the mind of a particularly nasty murderer), while the shorter Southampton and Brighton versions emphasise the minimal synth drones and sampled voices. 'Maggot Brain' sounds like 60s psychedelia that's taken a wrong turn and ended up in hell, while 'Live At Rat Club London' is probably the closest thing on here to the common conception of industrial, all disorientingly looped spoken vocals, brutally mechanized percussion and needling synthesizer jabs, while 'After Cease To Exist''s oppressive atmospherics - taking up an entire side of the original LP - pretty much gave birth to the entire dark ambient genre. The comparatively bright-eyed and bushy-tailed, Kraftwerk-influenced single 'United' - the tune that ushered in a million inferior cold wave pop bands - is included along with its gloriously compressed and distorted B-side 'Zyklon B Zombie'.
It's insane to think The Second Annual Report came out in '77, the same year as Never Mind The Bollocks. Pause for a moment and reflect on that, then press the buy button.
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For fans of moody ‘80s pop pomp, Death of Lovers’ 2nd album, The Acrobat packs all the aching emo swoon and synthy licks you could hope for. Think New Order, Duran Duran, John Hughes movies, montages of Reagan/Thatcher economics in effect, and buckets of salty, sugary nostalgia.
“Since the 2014 release of Philly outfit Death of Lover’s acclaimed debut EP “Buried Under a World of Roses”, many wondered if a full length follow-up for the band was even possible – largely due to the extensive touring schedule of Domenic, Nick, and Kyle’s other band: Nothing. But between 2016 and 2017, the four piece band (that includes keyboard player CC Loo) was able to find the time to focus, demo, write, and carve out a stunning new direction and polished sound for the band. “The Acrobat” represents that labor of love, and Death of Lovers have created one of the most eye-opening alternative records we’ve heard in years.
Thoughtful compositions weave driving synths, drums and guitars through lock-step rhythm and nostalgia before shattering into intricate and spacious instrumental breaks. There is a welcome complexity and depth to the tracks, which dance between moody and sweeping to sparkling and bright – creating a beautiful contrast to the honest and dark lyrics.
On the album single “The Absolute”, Domenic’s vocals (accompanied in harmony by drummer Kyle Kimball) take on the topics of selfishness and greed - “All in all is trembling fear – bound to fall on bludgeoned bell rung ears. A senseless world of worth, deceived by needing, and the crow who perches on your tongue – reminding you it won’t be too long.”
“Lowly People” is the band’s answer to PULP’s “Common People”, cast through the lens of their own upbringing: the streets of Kensington, Philly – where “Broken glass shimmers like the stars, summer air breeds a certain violence.”
Somehow, The Acrobat achieves warm familiarity while sounding completely new. While the tracks could easily have been included on the soundtrack to every one of your favorite 80s films, there is a fresh perspective and process evident in the songwriting that rewrites the “post-punk” rulebook.”
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James Holden and pals converge on a raucous psych-folk-tronica sound presumably meant for cider-soaked harvest festivals and grazing thru fields of magic mushies. Ecstatically giddy and eldritch-tinted stuff.
“Let yourself be transported to a magical other world of instinct and intuition with this bold new set of synth-led folk-trance standards from electronics guru James Holden and his newly-expanded band of fellow travellers The Animal Spirits. A wild ride that unites the characteristic propulsive melodic vigour of his custom-made modular synthesizer system with an unlikely supporting cast of brass, wind and live percussion, the expansive and transformative psychedelic journey of The Animal Spirits is certainly eternal outsider Holden’s most ambitious work to date – but surely also his most direct and accessible.
Since the release of 2013’s epic pagan saga The Inheritors, the kraut-tinged synth-and-drum core of the live touring outfit assembled by Holden to spread his alternative electronic message around the world has picked up several additional members along the way. Legendary jazz band leaders Don Cherry and Pharoah Sanders provided the blueprint for this quest to assemble “something like a spiritual jazz band playing folk / trance music”, but here cornet (Marcus Hamblett) and saxophone (Etienne Jaumet) function as the complement to the star soloist of Holden’s ever-strident synth. Meanwhile drummer Tom Page’s is inextricably bound to Holden's synth care of self-coded interactive drummer-following software, keeping pace with the almost imperceptible – yet unmistakably human – micro-errors in timing which lend live drums their natural magical groove. Thus Holden’s drummer is liberated from the brutal tyranny of the click track and a new organic symbiotic relationship between human and machine is unlocked. Producer Holden’s creative control over the project is absolute, from building his own synth and software, writing the musical backbone and steering his players, to self-recording, self-mixing and eventually also self-releasing the finished collection on his own imprint.
This heady blend of the electronic and the acoustic came into being during the hot and sticky summer of 2016 under the direction of fledgling band leader Holden at his Sacred Walls studio in London. In a bid to capture what he calls the unfakeable “psychic communication” of a group performance, The Animal Spirits was recorded live in one room together in single takes, no overdubs, no edits, in accordance with his own self-imposed dogma.
What has emerged out of these sessions is a genre-blending new form of universal music that feels inherently fluid and alive. Just one example of the record's wide-ranging influences, the relentless, elastic and hypnotic polyrhythms of 'Pass Through The Fire' grew out of Holden’s 2014 trip to Morocco to work with legend of Gnawa music Maalem Mahmoud Guinia. The first song he wrote for the band, 'Pass Through The Fire' took shape over months of pre-show dressing room practice, as Holden set about transmitting the distinctive Gnawa rhythm to drummer Page. It soon made its way into the pair's live shows, adding Jaumet's on-the-hop improvised sax contributions further down the line. Holden says, "This was where I got the idea that songs are just backbones or seeds and the strong ones teach/reveal themselves to the players rather than the other way round."
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Surely the UK’s most prized punk-funk group, Golden Teacher tighten the screws to loosen your hips with No Luscious Life, an instant-classic debut album of seven incredibly infectious tracks getting to grips with all of GT’s worldly influences, and then some.
Since emerging on Optimo Music to a round of acclaim in 2013, the band have revealed their Green Door Studios home to be an unparalleled hotbed of creativity for themselves and Glasgow’s finest freeks, but arguably keeping a neck ahead of everyone else thru their untamed diversity and skill at refreshing vintage aesthetics.
No Luscious Lie is the strongest, well-rounded testament yet to their sound, kicking off with the ESG space bounce of Sauchiehall Withdrawal to cycle thru influences ranging from Senegalese talking drums - think Mark Ernestus’ Ndagga Rhythm Force on bucky - with Diop, before cooling out with the preppy Detroit funk of Spiritron and the heat-warped Afro-disco soul strut of The Kazimier, reprising the dubby depth of their Dennis Bovell hook-up with Shatter (Version), and playfully bending time ’n space like some Bruce Haack-meets-Craig Leon screwball on What Fresh hell Is This?
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Bibio makes his most affective move in a while with the wistful, nostalgic reflections of Phantom Brickworks; an elegant ambient meditation on the intangible aura or spirit that people imbue places with, and vice-versa.
Over the years since Fi, Bibio’s BoC-like (or lite) debut for, we’ve variously heard Bibio as ambient dreamer, soft-boogie whiz, and folktronica bard. However, by swiping away the beats entirely and following his improvisational instincts, Phantom Brickworks seems to dwell at the square root of all those styles, divining and calling forth a ghostly, melancholic spirit which lingered in the background and between the cracks of all his previous releases.
In terms of its autumnal, decayed pallor and silty sense of depth perception, not to mention to obvious themes of nostalgia and memory stimulus, Phantom Brickworks operates in very similar realms of the imagination to The Caretaker, conveying a very particular, elusively eldritch brand of sehnsucht or hiraeth; a feeling that defies concrete description, but you know when you feel it.
No hyperbole; Phantom Brickworks is the loveliest album Warp have released in a while.
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While the righteousness of blackness is at the heart of the Rastafarian faith, this collection illustrates how black pride remained a central theme, if not the defining essence, at the very core of all the music created at Studio One Records.
"Black Man’s Pride is the striking new Studio One collection of deep heavyweight reggae featuring Horace Andy, Alton Ellis, The Gladiators, Sugar Minott, The Heptones, Freddie McGregor, Cedric Brooks & more.
In order to understand the centrality of black identity in the music created at Studio One, we need look no further than Clement ‘Sir Coxsone’ Dodd who, who created the first black-owned record company in Jamaica.
In similar fashion Alton Ellis’s defining ‘Black Man’s Pride’ brings up emotions that are at the heart of many of these uplifting songs. Alton Ellis’ birthplace was the Trench Town ghetto of Kingston, also the birthplace of The Wailers, Ken Boothe and many other Studio One luminaries.
Clement Dodd established a musical empire firmly rooted by the core musicians working at Studio One many of whom came out of the Alpha School for Wayward Boys, run by Roman Catholic nuns, whose luminaries include Don Drummond, Johnny Moore, Leroy ‘Horsemouth’ Wallace, Cedric Brooks, Vin Gordon, Tommy McCook & more.Many of the songs featured here come from the transitory phase in reggae at the start of the 1970s. After the exhilaration of Ska and following the cooling down of Rocksteady. While reggae awaited the arrival of roots, Studio One’s vocalists were already producing some of the moodiest music imaginable! Here are 18 heavyweight tunes, both classic cuts and super-rare tunes!"
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Beautiful new album from longtime Room 40 friend and collaborator Ueno Takashi
"I confess to being in a state of ceaseless awe when it comes to Tokyo guitarist, Ueno Takashi. I have had the pleasure to know Ueno now for well over 10 years. In that time he has remained a source of constant curiosity and surprise. Just when I think I have the man pegged, he throws out some unex-pected musical gesture that completely catches me off guard. Whether it be his work with Saya in Tennis-coats, or his almost endless stream of solo releases, many of which exist in very short run editions, his mu-sic typifies a tireless desire to explore. Recently Ueno’s curve ball has been his project Off Strings with Vice Japan, where he talks to leading Ja-panese guitarists. It’s an incredible series of interviews, which I heartily recommend checking out.
The re-sults have been quite extraordinary and his session with Haino Keiji a personal favourite of mine. Yet an-other pleasant surprise from this maestro. Over the course of his previous solo recordings for Room40, Ueno has tested very reductive compositional approaches. Each of the records has created a precise and unique approaches to guitar. Sui-Gin, his first solo for us, almost 10 years old, remains one of Room40’s most individual sounding recordings. It’s a col-lection of alien tones, uneasy yet beautiful. To this day I still can’t quite imagine how he drew so much harmonic richness from such a limited palette; one instrument and one pedal. Smoke Under The Water, a title I can only assume maintains at least a little humour about it, is easily the most beautiful record Ueno has made in recent years. Here, the lushness of his playing meets head on this is minimalist compositional heart. This record bares a close attention to detail. That is not to say it is fussed over or seeking some kind of state of perfection. On the contrary this is a record about perfor-mance, about taking a beautiful compositional idea and seeking to document it with the life and breath that is so critical to solo instrumental works. I implore you to listen to one of Japan’s true master’s of his craft."
Lawrence English, October 2017
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As promised, Throbbing Gristle cough up what is essentially their Best Of… on vinyl for the first time, repackaging and expanding their 2004 CD, The Taste of TG (A Beginner’s Guide to the Music of Throbbing Gristle), with Almost A Kiss, taken from the Part Two - The Endless Not album, which serves to now bookend the collection between 1975-2007 and offer a broader, truer picture of the nonpareil, infinitely influential group’s jagged timeline.
There’s nowt we can add to the mountain of writing already on Throbbing Gristle. But, in context of the release, for the uninitiated, afeared, or just plain ignorant listeners out there who haven’t a clue what TG are about, we advise cupping this album with both hands and drinking deeply, then deciding which of their bloods tastes the strongest, and pitching yourself down the rabbit hole of their corresponding catalogue. Then read Cosey Fanni Tutti’s Art Sex Music to put it all in historic context.
You’ll thank yourself for it soon enough, even if the neighbours don’t.
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Following last year's ‘Previously Unreleased’ album and its run of nine weekly 12” vinyl EPs, Trevor Jackson has compiled a second volume of 20 tracks (11 unheard and 9 previously vinyl only).
"The music featured is a collection of reworked demos and unreleased recordings. A hedonistic mix of raw Disco, Dub, Funk, Dancehall. Electro, New Wave & Post Punk that all still sound as relevant today as they did when initially recorded for the debut PLAYGROUP album during 1997 - 2001."
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Max Richter’s soundtrack to Disconnect [2013]
Featuring Jason Bateman and directed by Henry-Alex Rubin. Probably best known and loved for the lump-in-throat strings of the lead track, On The Nature Of Daylight, which has become one Richter’s standout moments in a catalogue littered with beauties.
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First ever vinyl edition of Justin Broadrick's crushing industrial turns as JK Flesh for Hospital Productions, combining the Suicide Estate and Antibiotic Armageddon releases for a greyscale spectrum of brutalist techno / abyssal acid dub / tramadol tribalism / noxious noise textures that's highly recommended if you're into Regis, Birmingham at night, Kareem...
It's an unflinchingly bleak representation of the world described in hard edged techno and shot thru with moments of affective, synthy pathos. In sonic and literal tone, the record forms a stark reflection on Justin K Broadrick Brummie stomping grounds, using demolished tower blocks as cues for some of the album’s most affective moments, such as the wrecking ball assault of Bayley Tower [New Mix], the rubbled rolige of Stoneycroft Tower, or the ‘marish zumby techno lurch of Bromford Bridge Estate, and all in a way that surely dovetails with the perceptions of anyone who has lived in a built up British area, or anywhere else with lots of concrete and little sunlight.
The other half of the tracks are taken from and titled in reference to Antibiotic Armageddon - the inevitable point when pill-gobbling citizens of the world are no longer protected against old viruses, and new ones. The tone of these cuts is understandably bleak af, too. Tamiflu dry-wretches a windswept passage of bummed-out dub techno breaks, where Squalene [New Mix] glumly follows suit with the clammy synth malaise of Ethylene Glycol and the knee-buckled crawler Thimerosal, which sounds like one of his Godflesh tracks in the process of terrifying itself to death.
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Heartless is the new album from Brock Van Wey's epic ambient guise bvdub.
"Those who have been able catch him live have found themselves undoubtedly immersed in sound. With Van Wey's “ebb“ warmly cradling you in juxtaposition to the “flow” that teeters near the thresholds of human aural acceptance. There is no denying it, he excels at and revels in filling spaces with swirling waves of emotive tone. Heartless, for those keeping track, is his 29th bvdub album, origi- nally borne from the intention of reflecting the concepts and experience of a series of live shows from months and years before... a kind of prologue, as it were, that could further explain the painful impetus behind those live forays, and the life he attempted to escape within them.
However, shortly into the writing process, he found Heartless became something more than even he intended: an even greater layered, monumental, and autonomous experience than its original intention - and swept itself into a life of its own.
We've been treated to beat-less bvdub works before, but with Heartless, Van Wey has created something far more monolithic than what has come before it. The album starts as bvdub album's sometimes do: warm washes of sound below the soulfully angelic vocals that Van Wey often gravitates to, this time distant echoes, it seems. But with Heartless this is only your introduction... easing you in before plunging to the deep end. As time passes, what voices existed drown below visceral, amor- phous, unabashed waves of sound that are wholeheartedly more sinister in temperament than his previous works, and the perfect manifestation of n5MD's "heart to hands" ideology."
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Lindstrøm launches his most concerted pop effort with 4th solo album, It’s Alright Between Us As It Is, neatly incorporating vocals by Jenny Hval, Frida Sundemo, and Grace Hall in a seamless segue of seven sleek and disco-ready songs adapting 40 years of dancefloor history to a timeless but fresh style.
Spire lifts off with lagging ‘70s drums and Vangelis-style synth streaks, tailing off into the lattice of latinate ‘80s arpeggios in Tensions, and a purring beauty named But Isn’t It starring Sweden’s Frida Sundemo, and something resembling ‘90s trance breaks for disco mums and dads with Shinin feat. Grace Hall.
Drift gives room for some twanging instrumental expression, and Jenny Hval voices the album’s most impressive piece with a hushed, cryptic performance on the bittersweet acidic twyst of Bungl (Like a Ghost), fading out into a neo-classical keys and tempered symphonic lift of Under Trees.
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Sublime dream-pop beauty from Colleen, a gorgeous and crucial push and pull of experimental urges and pop immediacy. Make sure to check the brain-dancing percolations of ‘Another World’ and her exquisitely off-kilter title track. RIYL Arthur Russell, Teresa Winter, Delia Derbyshire...
Recorded in the wake of the 2015 Paris attack, which occurred just as she was visiting, A Flame My Love, A Frequency, finds Colleen setting aside her trusted viola de gamba to incorporate a Critter & Guitari pocket piano synthesiser and newly acquired Moog filter pedal into her feathered dub propulsion system, buoying her reflections on life and death, and bird-watching, with a creamy, bubbling backdrop that’s perhaps at odds, or even in defiance of personal strife in the preceding year.
Described in avian swoops, zig-zagging arpeggios and aerial shimmers, she flies the fine line between sorrow and beauty in a way that reflects that brutality and grace of the natural world as much as the scenes of Parisian cafes under blue skies which would turn into a bloodbath only hours later. This dichotomy lies at the heart of A Flame My Love, A Frequency, as Colleen navigates a flux of strong feelings between the exquisite instrumental melancholy of November thru to the title track’s plaintive cubist folk keen, emulating the sensation of flapping your wings hard against the headwind with Separating, and offering a sublime, necessary space for introspection with Summer Night (Bat Song), whilst the gently frothing, pizzicato piquancy of The Stars vs Creatures and One Warm Spark lend a more optimistic spin in their wistful shimmers, crucially not forgetting to dream in the face of so much shite.
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New York-based percussionist and sound artist Eli Keszler dropped jaws last year with his unstoppable one-two punch of the ‘Red Horse’ LP on Type and ‘Cold Pin’ on PAN. Admittedly this was the first most listeners had heard from him, but new devotees were quick to fall over each other to grab anything else Keszler had put his name to, so it’s a fan service from PAN that they’ve put together this bumper double CD that collects up all the disparate pieces of the Cold Pin recordings.
The original installation was set up in Boston’s cavernous Cyclorama gallery, and finds Keszler stretching gigantic strings across the walls and letting small motorized hammers ‘play’ them at random intervals. Accompanied by a group of similarly outré minds (Geoff Mullen, Greg Kelley, Reuben Son and wife Ashley Paul) the musicians played to the randomized booming strings, and now, unlike the studio recordings we heard on the previously released LP we can hear the piece in full unedited form, together with the gigantic reverb of the room itself.
Probably the most stunning addition to the original pieces though is Keszler’s recordings of the Cold Pin exhibit he set up in Shriveport Louisiana, where the strings were stretched across two large empty water purification basins. You probably have an idea of how that might sound, but needless to say Thomas Koner’s peerless ‘Permafrost’ might be a good place to start. Elsewhere we’re treated to a full ensemble recording (with the Providence string quartet), which reframes the piece as a defiantly modern re-imagining of Ligeti – dissonant, disconcerting and gruesomely eerie. Even if you’ve already bagged the LP you won’t want to miss out on ‘Catching Net’, it’s yet more proof that at only 28 years old Eli Keszler is already one of the most important voices in the experimental music scene right now. Highly recommended.
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Lee Gamble jacks directly into a latent stream of electronic wonder with his dream-like 'Koch' opus for PAN.
Running to 76 minutes over 16 tracks, it's Gamble's most substantial and arguably definitive work, following the beautifully effective 'Diversions 1994-1996' and 'Dutch Tvashar Plumes' releases for PAN in 2012. Where those records deconstructed the elusive, enigmatic timbre of '90s electronic dance music - jungle, techno, ambient - 'Koch' (pron. 'Cotch' - UK slang for relax) is a sort of 'Pataphysical reflection and projection of what lies beyond; a symbolic, imaginary solution to what could be perceived as a dearth of "soul" in modern electronic dance music, searching for a feeling that's all too often forgotten in current styles. And quite crucially, 'Koch' provides considered answers from a singular, if ever-shifting perspective, at once uncannily detached yet incredibly intimate, with the acute ability to recalibrate the mind's lense between abstract dimensions.
To pick individual tracks apart would be beside the point. The album works as a wormhole, or perhaps how we've come to imagine what a wormhole is from VR representations in movies, TV, and computer games - seeming to dissolve us between first and third person narratives, club and home listening environments, and the fleeting waves of emotion (narcotised or not) which perfuse and colour the hallucinatory spaces between. It's a very timely reminder of electronic music's efficacy in expressing the alien and a contemporary "otherness", and comes with a huge recommendation for immersive heads and dancefloor freaks alike.
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Faith In Strangers’ was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime.
The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity.
Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty Warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.
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Bruce Russell is a New Zealand experimental musician and writer. He is a founding member and guitarist of the seminal noise rock trio The Dead C and the free noise combo A Handful of Dust (with Alastair Galbraith). He has released solo albums featuring guitar and tape manipulation.
"In summer of 2013, Bruce Russell's daughter Olive Russell uploaded a documentary of her father that she shot and edited herself called "27 Minutes with Mr. Noisy: A Documentary about Bruce Russell" to Vimeo.com. "This will be alien music to many listeners. Guitars tuned to the occult settings of revenants like Skip James and then played with a knife in an uncanny re-contextualising of the sound of beer bottles against guitar strings on the original Metallic K.O.; massively deformed electronics that sound like swarms of static, that sound like the needle eating the vinyl; radio interference; broke down piano; sledgehammer fuzz… this is the sound of taking a live Stooges meltdown as the keys to the goddamn kingdom and as a secret intimation of the arc of the future. Now here it is" Taken from the sleevenotes of 'Metallic OK' by David Keenan, author of 'This Is Memorial Device'.
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After a long hiatus, Hyetal comes of age as a dance-pop artist in the mould of Jam City with ‘Youth & Power’, incorporating synths and songwriting by Gwilym Gold and post production by James Ginzburg (Emptyset).
"Coming together over three years since his critically acclaimed last album, Hyetal completes his transformation from off-kilter dance music producer to futurist pop visionary on Youth & Power. 'Previously my approach to writing music was very rooted in escapism,' says David Corney aka Hyetal. 'I began experiencing a sense of detachment in my life which led me to question how healthy this approach was. I wanted music to help me feel connected again.' Wrenching his music free from the 'confines of computer grids' and pushing melody to the forefront, Youth & Power's texturally rich, psychedelic palette is littered with live played synths, electric guitars, drum machines, processed noise and 'some under-loved 70s home keyboards' recorded at Hyetal's South London home studio.
'I'd describe it as experimental pop music,' says Hyetal. 'the sound is in part a return to music I was listening to as a kid, more song- and instrument-based.' Youth & Power is Hyetal's debut as a vocalist, also scrapping samples in favour of live instrumentation and hook-laden songwriting laced with myriad influences. 'I took some time out to teach myself how to sing using an app on my phone. At first I found my vocals worked best for me when there was some distance from the natural sound of my voice so everything was abstracted through a few different processes.' he explains, 'As I became more comfortable singing I decided I wanted to contrast this approach and use some natural sounding vocals that embraced the imperfections'. The album strikes a balance between robotic Kraftwerkian simplicity and soulful organic pop, contrasting the various pitch-shifting and abstracting vocal effects with sharply concise lyrics. Semblances of Hyetal's origins in Bristol's early dubstep movement are still present too, deep inside the album's meticulous rhythm beds. Elsewhere chiming retro keyboard notes and drum machine beats at times recall the likes of Yellow Magic Orchestra contrasting against waves of guitars and noise which bring to mind the influence of Bauhaus and other post punk experimentalists.
Written as a form of catharsis for Hyetal in his search to return his music from detachment, Youth & Power seeps a sense of hope. 'I found from a distance the most immediate workings of humanity can appear extremely brutal', says Hyetal, 'but when looking through this lens you miss the beauty that happens in the moment.'
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Redeemer is the brutally seductive debut album by Phase Fatale, a key player in the recent charge of EBM and post punk-informed industrial techno infecting ‘floors from his home city, NYC to his DJ residency at Berghain, Berlin.
In Dominick Fernow’s Hospital Productions, Phase Fatale finds a fitting home for his personalised brand of clinical, rictus rhythm programming and searing synth and guitar lines, adding a vital streak of black and blue electric energy to the legendary label in its 20th year of cultish operation.
In seven parts (and a trio of extended Silent Servant mixes due to come), Redeemer follows the direct, jagged lines of his 12”s for Jealous God and Unterton to a deeply personal realisation of weaponised sonics, upholding a strong tradition of techno as a prophetic exercise or ritual to gird dancers and listeners for the onset of future war. It presents Phase Fatale as an ultimate emissary of electronic violence and domination in the process, steeling the limbic system and muscle memory thru a fine-tuned disciplinarian approach to pharmacokinetics and biomechanics.
Picking from the leather-bound cadaver of industrial dance music past, he reanimates his influences with pointillist precision and unapologetic force. Alloying muscular bass and metallic percussion with wire-combed 16th note synthlines and a barbed perimeter of guitar distortion, his sound can be heard as a metaphorical representation of holding your line against the attrition of a degenerated present.
Each track dances concisely around the 5 minute mark, unfolding a series of densely packed and subtly rendered minimalist/maximalist structures. The shuddering tension of Spoken Ashes opens with banks of rotted chorales against a coalface of hacking stabs, establishing a pent vibe that vacillates precariously thru the adrenalised battery of Operate Within, to the clenched funk of Human Shield and the bombed-out, Alberich-alike Interference, seeming to resolve slightly with the supple roll of Order of Severity, before Beast bottoms out into immolating synth distortion, and Redeemer brings up the rear with a coolly-tempered, stoic form of industrial ecstasy.
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Kjetil André Mulelid – piano Bjørn Marius Hegge - double bass Andreas Skår Winther – drums
"Following in the footsteps of In The Country and Espen Eriksen Trio, Kjetil Mulelid Trio is the third piano trio to appear on Rune Grammofon. Although they can be placed in the same musical landscape, it´s also fair to say there are certain obvious differences. There´s a solid dose of youthful playfulness and curiosity at work here, at the same time they show an assured maturity that belies their age (26, 26 and 29).
The music is based on compositions by pianist Mulelid - inspired by everything from psalms to free jazz - but there is also room for collective improvisation. It can be energetic, rhythmically complex and harmonically rich, but also intimate and with a beautiful melody. They work purely with acoustic sounds and timbres and are constantly reaching for new ways to express themselves within these frames."
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Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck.
His second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance-pop written in the midst of these dark and uncertain times, fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that’s never felt so necessary.
It abandons the sensitive streak hinted at on Animals, his debut LP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album’s flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild. After all, rave ‘floors were conceived for many as a way to forget/abandon the dark undercurrents of late 80s political turmoil.
The record is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of Me Me Me, which jabs it into action, to the new wave thrust of Tool [I Don’t Give A Sh*t] and the ambient flush of Roll Along With The Pain Of It All [I’ll Text U], Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture [see the fulminating iridescent EBM-pop of Where Are We — with Marie Davidson guesting on vocals — or the acidic punk jabs of Watch Yourself].
Good Luck is a thrillingly positive record — like a big slice of pink and blue sponge cake, it’s delicious, sweet, creamy and wonderful. And that’s the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary politics/culture/life/love/music/media seem to be infected by a feeling of impending dread — of fear, alienation, division. Perhaps it’s the job of artists to present an alternative vision for the world [and music] rather than simply to reflect one’s reality back into the echo chamber of their own lives.
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Sound artist Tomoko Sauvage adds the gorgeous, elemental waterbowl recordings of Musique Hydromantique to a wonderful run of 2017 releases on Félicia Atkinson & Bartolomé Sanson's Shelter Press. Quite possibly the most soothing hour of music you'll experience all year
It will become hard to believe once you’ve heard it, but all sounds on the LP were improvised with acoustic technique and recording - meaning no electronics, edits or overdubs - whilst they effectively sound like the microtonal output of some unique, natural synthesiser affected by subtle variables such as temperature, architecture, humidity and human presence. If Philip Corner and Eliane Radigue ever made a record together, it may well sound like Musique Hydromantique.
Using a set-up of hydrophones (underwater mics) and porcelain bowls filled with varying amounts of water, developed by the artist over the better part of this decade, Musique Hydromantique forms a meditative, experimental study in rhythm and pitch which resonates with gamelan and ancient divination techniques as much as it does with minimalist modern electronics. The results are utterly captivating in their fluid timbres and plaintively plangent structure, rendering the elusive, ever-changing and hypnotic phenomena of moving water in three diverse states or sonic sculptures that patently demonstrate a deep, underlying and innate connection between the performer, her medium, and the listener.
Clepsydra - meaning ‘water clock’ - most closely resembles a form of gamelan practice, or, even some form of minimal electronic music. For ten minutes she renders a series of exquisitely variegated sonic glyphs gestured from her struck bowls and hands changing the quantities of water, and by extension, the pitch of each bowl. Tomoko makes a real virtue of everyday sounds, resulting in a time-dilating passage of smooth glissandi, elegantly unshackling our internal clocks from the anticipation of quantised convention.
Fortune Biscuit follows in a very different style. Here, the brownian flow yields a remarkable micro-ecology of sounds that almost mimic animals, cyborganic mechanisms and insect choruses, yet they were entirely generated by a piece of porous terra cotta (biscuit) dipped into water. The scuttling patterns are perhaps understandable in that context, but we’re utterly baffled how they also make those pealing, arcing harmonic partials. In the final, 20 minute piece, Calligraphy those techniques serve to gel and diffuse her water-based sounds in even more bewildering fashion, as she employs the 10 second reverbs of an old textile factory to render her delicate, subaquatic sounds in a play of fractious drips, haptic rubs and their resonant feedback, feeling to melt time entirely and open a tranquil space for divination of your own senses in between those perceptions of time and tone.
This is a record that seems to have been designed to promote ultimate well being, it will completely engulf and subsume your senses and keep your attention rapt from start to finish. And we'd echo Tomoko's request that you listen to it at the start or end of the day for optimal results - far healthier than a spliff or night cap and will set your mood like some kind of ancient tuning fork.
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Prodigal avant synth-pop star John Maus - an important early collaborator with Ariel Pink (who guests here) - returns to the scene he was instrumental in setting with Screen Memories, marking up his first album since We Must Become The Pitiless Censors Of Ourselves [2011] and one of the most addictive records of the year thus far.
The palette remains mostly unchanged from his chain of previous Maus classics, as written for and released by Upset! The Rhythm and Ribbon Music during the ‘00s. But the tone, timbre and layering of his synths, drum machines and vocals in Screen Memories are discernibly tweaked for emphasised flavour and emotive affect. The results find Maus better expressing his contemporary concerns thru the prism of outmoded equipment, giving voice to the truth of timeless, absurd matters in an ever-more personalised style of pop articulation.
Under the wonderfully evocative header Screen Memories, a title which simultaneously conjures reflective, nostalgic imagery and possibly suggests a sort of picnoleptic reaction to the hypermodern narcissistic condition, Maus parses his own image and sense of self from the TV ‘snow’ or distortion of reality. It appears as a self who can’t escape the formative digital tang of the ‘80s which underlines so much of the modern world, yet a one who lives and dreams in the here-and-now.
It’s a supremely smart demonstration of avant-pop as playful metaphor, with Maus merging/duetting ever closer to his fine-tuned synth as a form of basic AI, occupying a strange harmonic uncanny valley of phosphorescing shadowplay between his probing hooks, bathing in the plasmic timbre or temporal and cognitive dissonance of late capitalism.
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The Basic Channel don meets the folk musicians of Bishkek, Kyrgyzstan for a beguiling exchange and fusion of traditions crossing paths between haunting acapella vocals, virtuosic instrumentation and sublime, dub-wise 4th world panoramas.
Locating MVO diversifying his bonds along outernational vectors, just like his BC bandmate Mark Ernestus with Ndagga Rhythm Force or Obadiah, the results form a series of studio portraits and wistful, impressionistic abstractions. They transport us to a place well off the usual map, to rugged lands once crossed by The Silk Road, where preserved, ancient traditions still reveal ghostly traces of the voices and sonic cultures which passed thru them.
The original arrangements of Ordo Sakhna range from complex, airborne string flights to nerve-jangling mouth harp pieces and a few stunning acapella pieces, which to our untrained ears resemble both Middle eastern, Indian classical and Chinese traditions, whilst the Drums track would appear to catch MVO in lissom fusion with live percussionists.
The multiple MVO dubs are a huge attraction, too. None more than the jaw-dropping Facets, where drums are swept in mountainous dynamic across the stereo field, joined by Hassell-esque dream tones and twanging mouth harp in one of the master’s most abstract, mercurial works in memory, whilst Bishkek, May 2016 catches them in live form at the Kyrgyzstan edition of Unsound festival, and the rolling Draught, and its version frame the spirits of Ordo Sakhna in his signature dub techno style, with results comparable to Shackleton when he removes the straight kicks.
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Brian Shimkovitz returns to SA with pure house heat from Professor Rhythm. Check for infectiously slower parallels to the NYC garage/house and New Beat phenomenon of the late ‘80s in the strident, acidic ‘Leave Me Alone’, the piano house lixx of ‘Kancane Kancane’ and the tuffer push of ‘Zama Zama’
“Professor Rhythm is the production moniker of South African music man Thami Mdluli. Throughout the 1980’s, Mdluli was member of chart-topping groups Taboo and CJB, playing bubblegum pop to stadiums. Mdluli became an in-demand producer for influential artists (like Sox and Sensations, among many others) and in-house producer for important record companies like Eric Frisch and Tusk. During the early '80s, Mdluli projects usually featured an instrumental dance track. These hot instrumentals became rather popular. Fans demanded to hear more of these backing tracks without vocals, he says, so Mdluli began to make solo instrumental albums in 1985 as Professor Rhythm. He got the name before the recordings began, from fans, and positive momentum from audiences and other musicians drove him to invest himself in a full-on solo project. It was the era just before the end of apartheid and house music hadn’t taken over yet. There wasn’t instrumental electronic music yet in South Africa. As the '80s came to a close, that was about to change.
Professor Rhythm productions mirror the evolution of dance music in South Africa. They grew out of the bubblegum mold—which itself stems from band’s channeling influences like Kool & the Gang and the Commodores—into something based on music for the club. His early instrumental recordings First Time Around and Professor 3 mostly distilled R&B, mbaqanga and bubblegum grooves into vocal-less pieces for the dance floor. Musically, these were a success and commercially the albums all went gold. There were countless bubblegum albums flooding the marketplace, with nearly disposable vocalists backed by mostly similar-sounding rhythm tracks. Most of the lyrical content was light and apolitical. But the keyboards used formed the musical basis for what would come next.”
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Remastered edition of Throbbing Gristle's best known and most suavely subversive LP, the one that completely re-defined the meaning of industrial music.
Referencing the band's influences outside of the avant-garde - among them ABBA and Martin Denny - it's the most outwardly accessible thing they ever recorded, but it's not without its harder, grimier moments, like the pummelling 'Discipline', with P.Orridge barking orders at you like the SM drill sergeant of your nightmares.
The shorter instrumentals are especially satisfying: we open with the droning, dysphoric ambience of 'Beachy Head' (think Eno's On Land via Lustmord), a paean to the suicide hot-spot that appears on the album's cover, while 'Tanith' and 'Exotica' sound like a seriously strung-out, sleep-deprived jazz ensemble channelling Aphex's Selected Ambient Works II.
Of course it's the "pop" numbers which stand out: Gen has never sounded so drolly superior as on 'Convincing People' and 'Persuasion', while the Cosey-vocalled, Carter-helmed 'Hot On The Heels Of Love' remains an absolute game-changing masterpiece, its influence on techno, disco and electro-pop as profound and palpable today as it ever was.
Stop listening to what you're listening to, and listen to 20 Jazz Funk Greats instead.
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Rod Modell returns to Soma with a slow-baked batch of rolling dub techno in Auratone some two years since Ultraviolet Music and reissues of myriad, related projects over the interim.
This is full fat DeepChord, swollen with bass and bristling with combustible, oxidising textures that their legion disciples will relish. Includes some sweeter highlights in the roving subs and dancing melodies of Wind In Trees and the insistent mesh of ghostly, pealing partials with pneumatic bass in Point Reyes.
“A foray into deep, organic, cinematic dance music. Subterranean bass, intercepted alien transmissions, and stripped down dance-beats meld with sheets of sounds that roll over the listener like waves lapping up on the shore. Shimmering, watery, brain hemisphere synchronization tones caress and melt stress away. Dance floor friendly tracks that work equally well in one s private listening space. Immersive music with a distinctive aquatic quality. Inspired by Detroit & Berlin s dance genres, but tempered by more ambience / atmosphere than one would expect from those genres. Music without harshness or rough edges. Fuzzy, out-of-focus, soft-sounds that slip in and out of the listener's consciousness.
Uniquely melds current dance rhythms with lushness and spirituality. Synesthetic sounds that trigger sensory experiences in cognitive pathways other than hearing smells of perfumes, thoughts of colours, and altered perception of time and space. Psychoacoustic, cerebral, electronic listening music for those wanting a different experience than the current harsher, darker dance trends are offering. Responsibly made gentle music designed from the ground-up to have a positive effect on the nervous system and leave the listener invigorated and recharged. Chi-building sonic balm. Timeless, exotic dance tracks for a new school of electronic music enthusiasts who are searching for beautiful sounds, crafted with a higher purpose in mind.”
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Visionist returns with his combustible 2nd album, Values; an intense meditation on themes of “machismo and effeminacy, self-deprecation and self-love”. The results are blisteringly compelling and affective quite unlike muxh else in circulation, bar maybe Arca’s music.
After leaving an uncanny impression with his debut album Safe for PAN, which was his bold attempt at modelling and resolving the onset and dissipation of anxiety or panic attacks - and perhaps circumvent the safe-ness of so much other music from the UK grime and electronic scene - this time he moves forward, emboldened by that experience to ‘fess up searing emotions in a way not normally associated with grime, or even cisgendered blokes for that matter.
At this point, we’re not even sure if it is grime anymore, as he’s seemingly transcended to somewhere else entirely, dissolving its stylistic rigidity and entangling elements of classical composition, computer music and trance into bold new forms in order to better convey his feelings and art. In doing so, and by grasping thornier issues head on - albeit in abstract style - he leaves himself vulnerable to critical value systems not usually associated with the club and road paradigms of grime, and does so with admirably unflinching, steadfast conviction.
Of course, without accompanying context listeners may not be aware of all that, but context in this kind of art is important, and when held up against it, the outpouring of emotive chamber keys and megadome trance gestures in instrumental songs such as Homme and Made In Hope sorely live up the conceptual thrust, while the album’s sole (human) vocal track Your Approval channels it ambiguously thru Rolynne’s gender fluid R&B voice. Likewise, his roiling, blasted rhythms undermine grime’s rigidity - which have pretty much become pop currency, not underground and experimental like they once were - on the convulsive New Obsession and No Idols in an almost sado-masochistic manner.
Just like Safe, there’s a a density of detail and information in Value that’s going to take a while to settle in, but it ain’t hard to tell this is a viscerally thrilling, refreshing piece of work which stands out far from the field, for what it’s worth.
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Stephen O’Malley picks up the enchanted duo of Andrew Chalk and Timo Van Lujik for their immersive 12th release of shimmering chamber music as the cultishly adored Elodie. Since 2010 Elodie have stealthily charmed pretty much all who’ve crossed their path, whether on record through the Faraway Press and La Scie Dorée label, or in their achingly quiet and mesmerising live performances.
With Vieux Silence, Ideologic Organ takes the honour of issuing Elodie’s first material outside of their own labels, building on a relationship formed after they performed, alongside Jessica Kenney and Eyvind Kang, at an event in London curated by O’Malley. Naturally that night stuck in his memory, as O’Malley recounts; “Elodie's performance was among the most delicately engaging and savant I have witnessed… so very quiet, with snow falling in London outside Cafe Oto's windows, the audience palpably entered a high intensity listening focus. The impression of this vivid memory is striking, considering how spare each of the individual elements present that night were.”
Coincidentally, our first encounter with Elodie was a live performance, too (cheers, Sam!). And snow aside, it was almost exactly as O’Malley recalls, keeping us perched, rapt for the duration like nothing we’d ever heard before. Even better, their records somehow capture that quiet intensity perfectly, as you’ll hear on the beautiful example of Vieux Silence.
Accompanied by in/frequent collaborators Tom James Scott (piano), Jean-Noël Rebilly (clarinette) and Daniel Morris (steel pedal guitar), Elodie’s 12th release renders 41 minutes of their sublime music that will leave connoisseurs of quiet music agape at the telepathic levels of control and ineffable coherence in their improvisations, unfurling as a sort of oneiric, watercoloured tableaux of genteel jazz strokes, electro-acoustic spectres and chamber-like gestures.
Lovers of anything from Badalamenti soundtracks and Bohren And Der Club of Gore, to Cotton Goods or Ryuichi Sakamoto owe themselves time with Elodie, and this is great place to start.
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On Lee Gamble’s stunning first major work since Koch [2014], the rave dreamer reawakens to decode and interpret his hallucinations for Hyperdub, coming to terms with the idea of Mnestic Pressure - a confluence of individual and collective pressures on contemporary memory - in an astonishly febrile, vivid collision and projection of jungle and ambient structures.
With his move to Hyperdub following a string of modern classics for PAN, Lee Gamble has effectively reset his sound to realise a more intricate, restless matrix of ideas that seems to emulate the sound of a mind that’s too wired to sleep, rushing from an overload of inputs which it struggles to make sense of. In this case the struggle is perfectly sur/real, making the listener unsure of whether he’s awake or dreaming, or perhaps experiencing some combination of the two ostensibly opposing states of mind.
As with his previous releases, Mnestic Pressure finds Lee acting as a conduit or plugged in psychopomp, absorbing the physical and mental pressures of life in London and online, and then transmuting, firming up those feelings in an elusively abstract style that conveys the daily bombardment of the senses, and by turns the memory, in a way which the written word will never fully capture.
But in a marked departure from earlier releases, Mnestic Pressure reveals a subtle but decisive shift away from straighter 4/4 patterns towards a constant, broken flux of meters and velocities which can perhaps be heard to reflect the shift in popular perception of time as a linear sequence, to a more complex, difficult-to-grasp weave of timelines which expand and contract, sometimes folding in on themselves or short circuiting in a sort of Déjà vu or jolting hypnic jerks.
It’s really best consumed from front-to-back in order to really allow that tempestuous momentum to take hold, as it plays out like a live or DJ set in some of the more slippery passages, especially the psychoacoustic smudge between East Sedducke, 23 bay Flips and Swerva, and the deft transitions from You Hedonic’s amniotic suspension to the glancing arrhythmic ballistics of UE8, but the DJs will also find very useful parts to extract in the Rian Treanor-meets-Demdike Stare flex of Ignition Lockoff, and his absolutely deadly jungle bullet, Ghost.
For our money, it’s Lee’s most essential release since Diversions 1994-1996.
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SAICOBAB are the Japanese quartet comprised of acclaimed vocalist YoshimiO (Boredoms, OOIOO), Yoshida Daikiti (sitar), Akita Goldman (bass) and acclaimed in Japan Motoyuki ‘Hama’ Hamamoto (percussion, gamelan).
"SAICOBAB masterfully blend traditional Indian music with melodies and unexpected rhythms using unorthodox instrumentation to create utterly distinct modern ragas.
On their debut album ‘SAB SE PURANI BAB’, YoshimiO’s leaping, animated, effected vocal melodies dance fluidly through Daikiti’s intricate sitar patterns. The entrancing synergy of Goldman and Hama’s rhythmic pulse drives and shapes the aptly named SAICOBAB’s sound to one that is at once rooted in ancient tradition and wholly new. YoshimiO has been a trendsetter as a member of OOIOO and Boredoms for over three decades. She has collaborated with Kim Gordon and Sean Lennon, has been featured on the covers of The Wire and The Fader and The Flaming Lips named an album after her.
“In the seemingly impenetrable, fantastic murkiness of Japanese experimental psych pop, more often than not,Yoshimi has been a beacon.” - FADER (cover)"
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Whoa, like: this is a kinda stunning debut album from 77 year old American photographer and legend William Eggleston, a contemporary of Andy Warhol in the ‘70s, who has been quietly recording himself for decades. ‘Music’ is nothing less than an American Dream recording..
“Native Memphian William Eggleston, 77, who is widely regarded to be the most important photographer of the late 20th Century, presents his debut record, Musik.
It was during Eggleston’s Sumner, Mississippi childhood, where he discovered the piano in the parlor that ignited in him a lifelong passion for music. It was a passion he carried forth his entire life, playing quite adeptly when a piano was handy: improvised turns on Bach, Handel, gospel, country, and popular selections from the Great American Songbook for friends and family. Though his travels found him rubbing elbows with Andy Warhol‘s Factory superstars in New York, where he lived for several years with Viva at the Chelsea Hotel, and observing a music scene in Memphis that included Big Star’s Alex Chilton, and his old friend and owner of Ardent Studios, engineer Jon Fry, his own music went largely unheard by the general public.
In the 1980’s, Eggleston, who disdained digital cameras and modernity in general, became surprisingly fascinated with a synthesizer, the Korg OW/1 FD Pro, which had 88 piano-like keys, and in addition to being able to emulate the sound of any instrument, also contained a four-track sequencer that allowed him to expand the palette of his music, letting him create improvised symphonic pieces, stored on 49 floppy discs, encompassing some 60 hours of music from which this 13 track recording was assembled.
Eggleston lives today in a small apartment off Memphis’ Overton Park that he shares with a 9-foot Bosendorfer grand piano and an arsenal of ultra-high fidelity audio equipment, some of which was designed by his son, William Eggleston III. The synthesizer, alas, is broken and stubbornly refuses to be repaired, so for the purpose of this project another was purchased in order to be able to play back the floppy discs, which, along with a handful of DATs and other digital media, though frail, were digitized and mastered for this and future releases.
Mr. Eggleston often says that he feels that music is his first calling, as much a part of him, at least, as his photography. We take special pride in allowing the world to hear this side of a great artist who may now be rightly called a great musician.”
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Lessons marks 10 years of the on-going experiment that is the Front & Follow record label, and their 50th official release
Bringing together artists from across the years in old guises and new inc Pye Corner Audio, Leyland Kirby, Laura Cannell, Ekoplekz, Time Attendant, Howlround and more...
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Sugai Ken follows in the vein of RVNG Intl’s Visible Cloaks release with an exquisite meditation on traditional Japanese percussion and 4th world electronics ruptured by unpredictable runs into more abstract terrain. RIYL YMO/Haruomi Hosono, Visible Cloaks, Foodman...
UkabazUmorezU works like a stage set or a variegated series of sonic scenarios, at once smartly demonstrating his compositional versatility as well as a dilated vision of the connections between Japanese tradition and western-rooted electro-acoustic practice. In a way it resonates with Visible Cloaks’ perspective on Japanese electronics as much as Foodman’s dextrous mutations of Chicago footwork, but still it’s weirder and more enigmatic than either of them.
In his own words, UkabazUmorezU is intended to reflect a “style that conjures [the] subtle and profound ambience of night in Japan.” Arguably, for someone who has never visited or experienced night in Japan (us), it does so as richly as a Murakami novel, sensitively using electronic instruments and process to emulate and evoke an intimate sense of the spiritual, supernatural recalling the effect of, say, Kenji Kawai’s Ghost In The Shell OST, but again, with a more elusive, amorphous and playful quality of his own.
Ultimately it’s a beautifully and subtly suggestive album, skillfully making use of pregnant lacnuæ and negative space, but also riddled with flighty melodic figures, and prone to wonderfully disorienting jump-cuts that ping us from serene garden and temple scenes to stranger, bestial ginnels of the Japanese mindset with an effortless sleight-of-hand.
Tip!
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Hayley Fohr tends to her Circuit Des Yeux alias after last year’s country excursion as Jackie Lynn, returning to relay a compelling tale about a pivotal, existential awakening she experienced in early 2016, all delivered via her signature vocal - somewhere between Nico, Diamanda Galas and Scott Walker - against a varied topography of brooding brass, stirring folk strings, arpeggiated keys and synths, and intermittent rocking squalls.
Reaching For Indigo is arguably set to become a modern classic in the same vein as her In Plain Speech [2015, Thrill Jockey] record, mostly thanks to a number of standout songs such as the plaintive power of Brainshift and Black Fly at its prow, and the natural, dreamlike possession of her swelling Geyser beauty and the free-floating kosmiche elegy, Falling Blonde.
It takes some sort of special virtue to make an indie-folk record that doesn’t sound super cliché nowadays, and evidently Circuit Des Yeux has it in abundance.
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Music From Memory follow up the enchanting Suso Sáiz retrospective Odisea with a far more recent survey of the Spanish ambient and new age pioneer’s contemporary output, Rainworks; spanning wistful ambient vignettes to mind-engulfing drone, brittle concrète and drifting solo piano studies commissioned and written in 2016.
Highly regarded for his work with Orquesta De Las Nubes and Música Esporádica for Grabaciones Accidentales (home to Finis Africae, Luids Delgado, Randomize) in the early-mid ‘80s, Sáiz has followed that path ever since, resulting collaborations with Steve Roach and dozens more releases over the interim.
Rainworks finds him still feeling out a sublime, etheric otherness, bringing to life a series of atmospheric pressure systems with a deft, elemental touch in key with the original commission from Hidraulica, Tenerife (Canary Islands), gradually expanding and contracting in ambition from the opening arabesque to the abstract yet richly evocative tract of A Rainy Afternoon at the album’s perimeter.
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Payment Security

We take the security of our website and of your transactions
extremely seriously. We encrypt all traffic involving personal
data with industry-standard SSL certificates and we are also
PCI compliant - meaning that we follow all current data security
standards and undergo weekly scans monitoring our security status.

Additionally, we do not store any card details at all, all
payments are handled using a system of Tokenisation which is
an industry-standard method of secure payment handling. When
you place an order with us payment is either handled via your
Paypal account or if you choose to pay by credit/debit card we
create a "Token" with your payment details which is stored by
the Bank payment gateway. When you return to make a purchase
it basically reactivates the "Token" so no details need to be
entered again and those details are not stored by us.

Estimated Shipping Dates

Estimated shipping dates are accurate to the best of our
knowledge, based on the latest stock information made available
to us from the supplier. Available items should ship to you within
the time-frame indicated. If there are any unforeseen issues with
availability we will notify you immediately.

Shipping FAQs

Free Shipping: We offer free postage on orders over
£50.00 to the UK sent via Royal Mail.*

*To qualify for free postage the order must be sent as one package.
Therefore, all items must be in stock or you should be happy to wait
until all items become available to ship so they can be sent as one
package. Downloads and Gift Vouchers do not count towards free
shipping. Please note that Pre-Orders do not count towards free
shipping as their release dates are liable to fluctuate.

Stock Status

If your order contains items that have different estimated
shipping dates (for example, ‘available to pre-order’, ‘in stock’,
‘available to ship in 1-3 days’) you will be given an option either
to wait for everything to become available to ship in one package,
or to ship each item as soon as it becomes available. Stock arrives
at the office throughout the day so the stock status of items on the
website can change several times a day.

Important Note: all items that are not currently displaying as
In Stock need to be ordered in from our suppliers and the estimated
shipping dates are only an indication of when we expect those items
to come into stock. If there are any unforeseen issues with
availability we will notify you immediately.

Premium Packaging

At checkout you are able to select a premium packaging option
for a fee of £1.50. We pack all of our orders using appropriate
packaging, however when you pick this option we use a wider
cruciform offering additional protection if you have a
particularly heavy-handed postman.

UK and International Shipping Options

We offer two services:

1. First Class Royal Mail - for UK and for International
orders: The package will be delivered by your national postal service.

Royal Mail sets limits on the weight of packages, so if the order
becomes too heavy to ship in one package the order will be split
into two or more packages. The packages will be marked accordingly,
for example, if an order has to be sent over two packages the packages
would be labelled ‘1 of 2’ and ‘2 of 2’.

2. Parcelforce tracked courier service:

This comprises a flat box fee for UK (and some European countries),
and a sliding scale based on weight for other countries. Parcelforce
is a Monday - Friday service. Packages sent via Parcelforce can be
tracked here:
http://www.parcelforce.com/track-trace

Parcelforce can only ship to PO boxes in certain countries,
details can be found once you have made your country selection
at checkout.

Once you have added items to your crate you can select your
country and choose either to send everything in one package or
to ship as soon as the items become available. At this point the
total given is a guide to the cost and more shipping configurations
are available once you have logged in and proceeded to checkout.
At the checkout you will still be able to add or take away items
from the crate and change/compare your shipping options.

Pre-orders are treated as separate packages to items that are
either in stock or available to order. If pre-orders share the
same release date then they can be ordered and shipped together.
However pre-order release dates are liable to change, if you have
ordered two pre-orders with the same date to ship together and
then one release date gets pushed back, we will ship the available
pre-order straight away and the second pre-order as soon as it
becomes available with no extra shipping charge.

If you choose to ship your order across more than one package you
can select the Royal Mail service for one package and Parcelforce
courier for the other.

Exceptions:

* if an individual item weighs more than 2kg and you are outside
of the UK the package must be sent via courier as Royal Mail sets
a 2kg limit on packages.

* Royal Mail covers postage all countries, however Parcelforce is
not available in every country.

Missing Packages

If an order does not arrive, we can issue a replacement package.
In the UK we consider a package to be missing after 15 working
days. Most international orders are considered missing after 25
working days with the exception of France, South America and Africa
- packages to these destinations are considered missing after 60
working days. Before we can issue a replacement, customers must
have checked with their local depot/sorting office to see if their
package is awaiting pick up. If we think there is an issue with
the shipping address, or that packages are being stolen in the
post, we reserve the right to refuse future orders to these
addresses.

Insurance

We automatically add an insurance supplement to orders over £30.
Orders between £30 - £49.99 are charged a 60p insurance supplement.
Orders over £50 are charged a £3 insurance supplement.

Returned Packages

If a package is returned to us because of an incomplete address,
or because it was not collected from a local depot, we will have to
charge you again in order to re-send it. We will get in touch with
you before any package is re-sent.

Delivery Times

The delivery times below are estimates. A lot depends on the
efficiency of your local post service.

Royal Mail:

UK (inc. Northern Ireland): 1 - 2 working days
Western Europe: 3 - 5 working days
Eastern Europe: 5 - 12 working days
Rest of World: 5 - 10 working days

Courier:

UK (inc. Northern Ireland): 1 working day except for highlands
of Scotland and parts of Scotland, please get in touch for
further information.

Western Europe: 2-3 working days for most countries but takes
longer shipping to Finland, Greece, Italy, Norway, Portugal and Sweden.

Eastern Europe: 3-6 working days for most countries but can take up
to 7 days for other countries, please get in touch for further
information.

Rest of World: 2-7 working days for most countries, please get in
touch for further information

Please note shipping times can vary within a country depending
on the area - for further information please get in touch.

Please note that the estimated shipping times above can be
affected by circumstances beyond our control such as bad
weather, delays at customs, busy times of year etc.

Contact Us

If you require further information or assistance then
please contact us.

Stock Status

Physical Products have different types of stock availability, for example:

In Stock (Ready to ship)
Pre-Order with estimated shipping dates
Available to Order (Estimated shipping between 1-3 working days)
Available to Order (Estimated shipping between 3-7 working days)
Available to Order (Estimated shipping between 7-14 working days)

If your order contains items that have different estimated shipping
dates you will be given an option either to wait for everything to
become available to ship in one package, or to ship each item as soon
as it becomes available. Stock arrives at the office throughout the
day so the stock status of items on the website can change several
times a day.

Important Note: all items that are not currently displaying as In Stock
need to be ordered in from our suppliers and the estimated shipping
dates are only an indication of when we expect those items to come
into stock. If there are any unforeseen issues with availability we
will notify you immediately.

Insurance

Premium Packaging

At checkout you are able to select a
premium packaging
option for a fee of £1.50. We pack all of our orders
using appropriate packaging, however when you pick this
option we use a wider cruciform offering additional
protection if you have a particularly heavy-handed postman.

CVV code

Terms & Conditions

TERMS & CONDITIONS OF WEBSITE USE AND SUPPLY

PLEASE READ THESE TERMS AND CONDITIONS CAREFULLY BEFORE USING THIS SITE

TERMS OF WEBSITE USE

This terms of use (together with the documents referred to in it) tells you the terms of use on which you may make use of our website http://boomkat.com/ (our site), whether as a guest or a registered user. Use of our site includes but is not limited to accessing, browsing , purchasing from or registering to use our site.

Please read these terms of use carefully before you start to use our site, as these will apply to your use of our site. We recommend that you print a copy of this for future reference.

By using our site, you confirm that you accept these terms of use and that you agree to comply with them.

If you do not agree to these terms of use, please do not use our site.

OTHER APPLICABLE TERMS

These terms of use refer to the following additional terms, which also apply to your use of our site:

Our Privacy Policy (www.boomkat.com/privacy), which sets out the terms on which we process any personal data we collect from you, or that you provide to us. By using our site, you consent to such processing and you warrant that all data provided by you is accurate.

Our Cookie Policy (www.boomkat.com/privacy) which sets out information about the use of cookies on our site.

If you purchase goods or non-physical copies of recordings from our site, our Terms and Conditions of Supply (see below) will apply to the sales.

INFORMATION ABOUT US

Boomkat.com is a site operated by Boomkat Limited ("We", “Us”, “Our”). We are registered in England and Wales under company number 5725006. Both our registered office address and trading address is at 2nd Floor Swan Building, 20 Swan Street, Manchester, M4 5JM. Our VAT number is GB 693 0821 25, and for Boomkat Digital Limited is GB 884 6350 90

We are a limited company.

CHANGES TO THESE TERMS

We may revise these terms of use at any time by amending this page.

Please check this page from time to time to take notice of any changes we made, as they are binding on you.

CHANGES TO OUR SITE

We may update our site from time to time, and may change the content at any time. However, please note that any of the content on our site may be out of date at any given time, and we are under no obligation to update it.

We do not guarantee that our site, or any content on it, will be free from errors or omissions.

ACCESSING OUR SITE

Our site is made available free of charge.

We do not guarantee that our site, or any content on it, will always be available or be uninterrupted.

Access to our site is permitted on a temporary basis. We may suspend, withdraw, discontinue or change all or any part of our site without notice. We will not be liable to you if for any reason our site is unavailable at any time or for any period.

You are responsible for making all arrangements necessary for you to have access to our site.

You are also responsible for ensuring that all persons who access our site through your internet connection are aware of these terms of use and other applicable terms and conditions, and that they comply with them.

REGISTRATION

When purchasing goods from Us or using the Service which is provided by Boomkat Digital Limited (“Digital”) you will be given the option to register by providing us with certain information including a member (user) name, a password and a valid email address ("Registration Data"). If you take up this option you agree to provide accurate Registration Data and to update your Registration Data as necessary to keep it accurate. We and Digital will keep and use your Registration Data in accordance with our Privacy Policy (www.boomkat.com/privacy) which forms part of these Conditions. You agree that you will not allow others to use your username, password and/or account and you are solely responsible for maintaining the confidentiality and security of your account. You agree to notify Us at contact@boomkat.com immediately of any unauthorised use of your password and/or account. Neither Us nor Digital shall be responsible for any losses arising out of the unauthorised use of your Registration Data and/or account and you agree to indemnify and hold harmless Us, Digital, their officers, partners, parents, subsidiaries, agents, affiliates and/or licensors, as applicable, for any improper, unauthorised or illegal uses of the same.

We have the right to disable any user identification code or password, whether chosen by you or allocated by us, at any time, if in our reasonable opinion you have failed to comply with any of the provisions of these terms of use.

INTELLECTUAL PROPERTY RIGHTS

We are the owner or the licensee of all intellectual property rights in our site, and in the material published on it (with the exception of those relating to the Service which are the property of Digital). Those works are protected by copyright laws and treaties around the world. All such rights are reserved.

You may print off one copy, and may download extracts, of any page(s) from our site for your personal use and you may draw the attention of others within your organisation to content posted on our site.

You must not modify the paper or digital copies of any materials you have printed off or downloaded in any way, and you must not use any illustrations, photographs, video or audio sequences or any graphics separately from any accompanying text.

Our status (and that of any identified contributors) as the authors of content on our site must always be acknowledged.

You must not use any part of the content on our site for commercial purposes without obtaining a licence to do so from us or our licensors.

If you print off, copy or download any part of our site in breach of these terms of use, your right to use our site will cease immediately and you must, at our option, return or destroy any copies of the materials you have made.

The Service may be protected under patent law and may be the subject of issued patents and/or pending patent applications.

Non-physical copies of recordings may not be reproduced, duplicated, copied, sold, broadcast, downloaded, transmitted, adapted or otherwise exploited for any commercial purpose without the express prior written consent of Digital.

NO RELIANCE ON INFORMATION

The content on our site is provided for general information only. It is not intended to amount to advice on which you should rely. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site.

Although we make reasonable efforts to update the information on our site, we make no representations, warranties or guarantees, whether express or implied, that the content on our site is accurate, complete or up-to-date.

LIMITATION OF OUR LIABILITY

Nothing in these terms of use excludes or limits our liability for death or personal injury arising from our negligence, or our fraud or fraudulent misrepresentation, or any other liability that cannot be excluded or limited by English law.

To the extent permitted by law, we exclude all conditions, warranties, representations or other terms which may apply to our site or any content on it, whether express or implied.

We will not be liable to any user for any loss or damage, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, even if foreseeable, arising under or in connection with:

use of, or inability to use, our site; or

use of or reliance on any content displayed on our site.

If you are a business user, please note that in particular, we will not be liable for:

loss of profits, sales, business, or revenue;

business interruption;

loss of anticipated savings;

loss of business opportunity, goodwill or reputation; or

any indirect or consequential loss or damage.

If you are a consumer user, please note that we only provide our site for domestic and private use. You agree not to use our site for any commercial or business purposes, and we have no liability to you for any loss of profit, loss of business, business interruption, or loss of business opportunity.

We will not be liable for any loss or damage caused by a virus, distributed denial-of-service attack, or other technologically harmful material that may infect your computer equipment, computer programs, data or other proprietary material due to your use of our site or to your downloading of any content on it, or on any website linked to it.

Different limitations and exclusions of liability will apply to liability arising as a result of the supply of any goods by use to you, which will be set out in our Terms and Conditions of Supply (set out below).
VIRUSES

We do not guarantee that our site will be secure or free from bugs or viruses.

You are responsible for configuring your information technology, computer programmes and platform in order to access our site. You should use your own virus protection software.

You must not misuse our site by knowingly introducing viruses, trojans, worms, logic bombs or other material which is malicious or technologically harmful. You must not attempt to gain unauthorised access to our site, the server on which our site is stored or any server, computer or database connected to our site. You must not attack our site via a denial-of-service attack or a distributed denial-of service attack. By breaching this provision, you would commit a criminal offence under the Computer Misuse Act 1990. We will report any such breach to the relevant law enforcement authorities and we will co-operate with those authorities by disclosing your identity to them. In the event of such a breach, your right to use our site will cease immediately.

If you wish to make any use of content on our site other than that set out above, please contact us at contact@boomkat.com

THIRD PARTY LINKS AND RESOURCES IN OUR SITE

Our site may present links to third party websites not owned or operated by Us or Digital. These links are provided for your information only.

Neither We nor Digital are responsible for the availability of these sites or their contents. We have no control over the contents of those sites or resources and You agree that neither We nor Digital are responsible nor liable, directly or indirectly, for any damage or loss caused or alleged to be caused by or in connection with your use of or reliance on any content of any such site or goods or services available through any such site.

TRADE MARKS

"BOOMKAT" is a Community Trade Mark

CONTACT US

To contact us, please email contact@boomkat.com

TERMS AND CONDITIONS OF SUPPLY

1. ACCEPTANCE OF TERMS AND CONDITIONS

By placing an order on our site you accept these terms and conditions ("the Conditions").

Each of Us and Digital (as the case may be) reserve the right to make changes to the Conditions relevant to them at any time and you will be subject to the relevant Conditions as published on the Website at the time you place your order.

For the avoidance of doubt in respect of Digital the Conditions applicable below constitute a legal contract between you and Digital governing your use of Digital's online music download sales service ("the Service”).

PROVISIONS APPLICABLE TO SALES OF PHYSICAL GOODS BY US

2. CONTRACT

2.1 Our shopping pages will guide you through the steps you need to take to place an order with us. Our order process allows you to check and amend any errors before submitting your order to us. Please take the time to read and check your order at each page of the order process.

2.2 After you place an order, you will receive an e-mail from us acknowledging that we have received your order. However, please note that this does not mean that your order has been accepted. Our acceptance of your order will take place as described in clause 2.3

2.3 We will confirm our acceptance to you by sending you an e-mail [that confirms that the goods you have ordered (“the Goods”) have been dispatched. The Contract between us will only be formed when we send you the Dispatch Confirmation.

2.4 If we are unable to supply you with the Goods, for example because the Goods are not in stock or no longer available or because we cannot meet your requested delivery date or because of an error in the price on our site as referred to in clause 3, we will inform you of this by e-mail and we will not process your order. If you have already paid for the Goods, we will refund you the full amount including any delivery costs charged as soon as possible.

3. PRICING & DELIVERY CHARGES

3.1 The prices of goods will be as quoted on our site at the time you submit your order. We use our best efforts to ensure that the prices of goods are correct at the time when the relevant information was entered onto the system. However please see clause 3.5 for what happens if we discover an error in the price of goods.

3.2 Prices for our goods may change from time to time, but changes will not affect any order you have already placed.

3.3 The price of goods includes VAT (where applicable) at the applicable current rate chargeable in the UK for the time being.

3.4 The price of goods does not include delivery charges. Our delivery charges are as advised to you during the check-out process, before you confirm your order. To check relevant delivery charges and options please add items to your crate, choose the shipping destination and delivery service you would like to use and a shipping cost will be displayed.

3.5 Our site contains a large number of goods. It is always possible that, despite our best efforts, some of the goods on our site may be incorrectly priced. If we discover an error in the price of the Goods we will contact you to inform you of this error and we will give you the option of continuing to purchase the Goods at the correct price or cancelling your order. We will not process your order until we have your instructions. If we are unable to contact you using the contact details you provided during the order process, we will treat the order as cancelled and notify you in writing. Please note that if the pricing error is obvious and unmistakeable and could have reasonably been recognised by you as a mispricing, we do not have to provide the Goods to you at the incorrect (lower) price.

4. AVAILABILITY

All orders are subject to availability.

5. YOUR RIGHT TO CANCEL THE CONTRACT

5.1 You may cancel your contract with us for goods you order at any time up to the end of the seventh working day from the date you receive the ordered goods. You do not need to give us any reason for cancelling your contract nor will you have to pay any penalty.

5.2 You cannot cancel your contract if the goods you have ordered are newspapers or magazines or if you have taken any audio or video recording or computer software out of the sealed package in which it was delivered to you

5.3 To cancel your contract you must notify us in writing

5.4 If you have received the goods before you cancel your contract then unless, under clause 5.2 you do not have a right to cancel, you must send the goods back to our contact address at your own cost and risk.

5.5 If you cancel your contract but we have already processed the goods for delivery you must not unpack the goods when they are received by you and you must send the goods back to us at our contact address at your own cost and risk as soon as possible.

5.6 On receipt of the returned goods we will refund you the amount charged for the goods in question (excluding delivery charges) within 30 days

6. OUR RIGHT TO CANCEL THE CONTRACT

6.1 We reserve the right to cancel the contract between us if:

6.1.1 we have insufficient stock to deliver the goods you have ordered

6.1.2 we do not deliver to your area; Or

6.1.3 one or more of the goods you ordered was listed at an incorrect price due to a typographical error or an error in the pricing information received by us from our suppliers

6.2 If we cancel your contract we will notify you by email and will credit to your account any sum deducted by us from your credit card or paypal as soon as possible but in any event within 30 days of your order. We will not be obliged to offer any additional compensation for disappointment suffered.

7 DELIVERY OF GOODS TO YOU

7.1 We will deliver the goods ordered by you to the address you give us for delivery at the time you make your order.

7.2 Delivery will be made as soon as possible after your order is accepted

7.3 You will become the owner of the goods you have ordered when they have been delivered to you. Once goods have been delivered to you they will be held at your own risk and we will not be liable for their loss or destruction.

8. LIABILITY

8.1 If the goods we deliver are not what you ordered or are damaged or defective or the delivery is of an incorrect quantity, we shall have no liability to you unless you notify us in writing at our contact address of the problem within 10 working days of the delivery of the goods in question.

8.2 If you do not receive the goods ordered within 30 days of the date of the Dispatch Confirmation we shall have no liability to you unless you notify us in writing at our contact address. Please do this within 2 weeks after this 30 day period expires.

8.3 If you notify a problem to us under clauses 8.1 or 8.2 above, our only obligation will be, at your option:

1. to make good any shortage or non-delivery;

2. to replace or repair any goods that are damaged or defective; or

3. to refund to you the amount paid by you for the goods in question in whatever way we choose.

8.4 Save as precluded by law, we will not be liable to you for any indirect or consequential loss, damage or expenses (including loss of profits, business or goodwill) howsoever arising out of any problem you notify to us under this condition and we shall have no liability to pay any money to you by way of compensation other than to refund to you the amount paid by you for the goods in question under clause 8.3.3 above.

8.5 You must observe and comply with all applicable regulations and legislation, including obtaining all necessary customs, import or other permits to purchase goods from our site. The importation or exportation of certain of our goods to you may be prohibited by certain national laws. We make no representation and accept no liability in respect of the export or import of the goods you purchase.

8.6 Notwithstanding the foregoing, nothing in these terms and conditions is intended to limit any rights you might have as a consumer under applicable local law or other statutory rights that may not be excluded nor in any way to exclude or limit our liability to you for any death or personal injury resulting from our negligence.

9. DUTIES AND TAXES

If you order goods for delivery overseas from our site you will be responsible for any import duties and taxes.

PROVISIONS APPLICABLE TO THE SERVICE AS OPERATED BY DIGITAL

11. THE SERVICE

(a) The Service allows you to listen to Clips (as defined below) and buy non-physical digital sound recordings, artwork and information relating to such sound recordings, and other content (collectively, "Music Content").

12. MUSIC CONTENT

(a) RIGHTS GRANTED: Upon payment for the Music Content, Digital grant you a non-exclusive, non-transferable right to use the Music Content only for your personal, non-commercial, entertainment use subject to this agreement.

(b) RESTRICTIONS TO RIGHTS GRANTED: The Music Content is owned by Digital, its business partners, affiliates and/or licensors, as applicable. You must comply with all applicable copyright and other laws in your use of the Music Content. Except as set out in clause 11 (a) above you may not or allow others to redistribute, transmit, assign, sell, broadcast, rent, share, lend, modify, adapt, edit, sub-licence or otherwise transfer or use the Music Content. Digital does not grant you any synchronisation, public performance, promotional use, commercial sale, re-sale, reproduction or distribution rights for the Music Content. You agree to advise Digital promptly of any such unauthorised use(s).

13. USE OF THE SERVICE:

(a ) USE OF MUSIC CONTENT: You agree that the content rights holders that license their musical or other content to Digital for use in the Service are intended third-party beneficiaries under these Conditions with the right to enforce the provisions that directly concern their content. You understand that your use of the Music Content is subject to the Usage Rules discussed below.

(b) SOFTWARE: All software made available by Digital on or through the Service is protected by intellectual property laws and your use of it is governed by these conditions as well as any applicable end-user licence agreements.

(c) USAGE RULES: Your access to and/or use of any Music Content will be limited by the rules assigned to the Music Content by Digital ("Usage Rules") and described in this section. You may not attempt (or support others' attempts) to circumvent, reverse engineer, decrypt, or otherwise alter or interfere with any Usage Rules or Music Content. Digital reserves the right to modify the Usage Rules at any time and your continued use of the Service after each such modification shall be deemed acceptance of any such modification.

A "Clip" is a portion of a track or promotional music video that you can play (and, if applicable, view) directly from and while you are logged on to the Service on a promotional basis at no cost to you. You may play as many Clips as you like.

You may not attempt (or support others' attempts) to capture, copy, or download a Clip.

(d) PRODUCT AVAILABILITY: Technical problems or expiry of Digital's right to make certain Music Content available may at times delay or prevent delivery of purchased Music Content to you. Receipt of your order or request does not guarantee that Digital can supply the selected products to you. All of the Music Content featured as part of the Service is subject to availability. Your sole remedy with respect to content or purchased Music Content not delivered will be a refund of the price paid for such Music Content

(e) RESTRICTIONS ON USE: You may not use the Service to transmit, display, perform or otherwise make available any messages, content or materials (i) that are illegal, obscene, pornographic, inflammatory, threatening, of a "spamming" nature, defamatory, or invasive of privacy; (ii) that constitute political campaigning or commercial solicitation or that contain software viruses or other computer code designed to interfere with the functionality of any computer systems; or (iii) that infringe third party rights or harm minors in any way. Digital will fully co-operate with any appropriate authority or Court order requesting or directing Digital to disclose the identity of anyone posting any such information or materials. You may not interfere with or disrupt the Service or any networks connected to or by the Service. In addition, you may not use a false email address or otherwise mislead Digital or other members as to your identity or to the origin of a message or content. By posting messages, inputting data, or engaging in any other form of communication through the Service, you agree that Digital may copy, sublicense, adapt, transmit, publicly perform or display any such content to provide and/or promote the Service subject always to applicable legal restrictions, and/or to respond to any legal requirement, claim or threat. If Digital's use of such content exploits any proprietary rights you may have in such material, you agree that Digital has an unrestricted, royalty-free, non-exclusive and perpetual worldwide right to use such material as described above. You agree that any loss or damage of any kind that you incur as a result of the use of any messages, content or material that you upload, post, transmit, display or otherwise make available through your use of the Service is solely your responsibility.

(f) All rights not expressly granted are reserved to Digital and/or its licensors.

14. CHARGES / BILLING

(a) AGREEMENT TO PAY: You agree to pay for all Music Content that you purchase through the Service and Digital may charge your debit, credit card or Paypal account for any such payment(s). Digital may, in its discretion, post charges to your credit card individually or may aggregate your charges with other purchases you make on the Service. You are responsible for keeping your Digital account secure and confidential and you will be responsible for any charges that are incurred by any person through your account. All charges will be billed to the payment method you designate when you first make a purchase or incur a charge. All prices include VAT (where applicable) at the current rates chargeable in the UK for the time being

(b) RIGHT TO CHANGE PRICES: All prices for products within the Service are subject to change by Digital at any time. While Digital tries to ensure that all prices on our site are accurate, errors may occur. If Digital discovers an error in the price of any goods or services you have ordered it will give you the option of reconfirming your order at the correct price or cancelling it. If Digital is unable to contact you it will treat the order as cancelled.

(c) ELECTRONIC CONTRACTS: You agree that any submissions you make for electronic purchases constitute your intent and agreement to be bound by the terms of and to pay for such purchases. To the extent that such electronic purchases are offered to you by a third party, you acknowledge that Digital shall not be responsible or liable to you for the products or services purchased.

(d) CANCELLATION: You cannot cancel your purchase of Digital Downloads once delivery has started. By placing an order to purchase Digital Downloads using the Service you acknowledge and agree to this.

15. EXPLICIT CONTENT

Digital shall have no liability or responsibility to you for any content or materials, including Stickered Tracks, that may be available in connection with the Service that you might find offensive, indecent or objectionable.

16. INFRINGEMENT OF INTELLECTUAL PROPERTY RIGHTS

If Digital receives a notice alleging that you have engaged in behaviour that infringes Digital's or any other party's intellectual property rights or reasonably suspects the same, Digital may suspend or terminate your account without notice to you. If Digital suspends or terminates your account under this paragraph, it shall have no liability or responsibility to you, including for any amounts that you have previously paid.

17. PROMOTIONS AND ADVERTISING

Digital and/or its business partners may present advertisements or promotional materials on or through the Service. Your participation in any promotional event is subject to the terms and conditions associated with that event. Your dealings with, or participation in promotions by, any third party advertisers on or through the Service are solely between you and such third party. You agree that Digital shall not be responsible or liable for any loss or damage of any kind incurred by you as the result of any such dealings or as the result of the presence of such third parties on the Service.

18. MODIFICATIONS TO THE SERVICE

Digital reserves the right at any time and from time to time to modify or discontinue, temporarily or permanently, the Service (or any part thereof) with or without notice to you, without any liability to you or to any third party.

19. REMEDIES

You agree that any unauthorised use of the Service, the Music Content or any related software or materials may result in irreparable injury to Digital and/or its affiliates or licensors for which money damages would be inadequate, and in such event Digital, its affiliates and/or licensors, as applicable, shall have the right, in addition to other remedies available at law and in equity, to seek immediate injunctive relief against you. Nothing contained in these Conditions shall be construed to limit the remedies available pursuant to statutory or other legal authority that Digital, its affiliates and/or licensors may have.

20. DISCLAIMERS

You understand and agree that your use of the Service and Music Content is at your own sole risk. The Service and Music Content (the "Products") are provided "as is" and without warranty by Digital or its agents, employees, parents, subsidiaries, affiliates, licensors, business partners and/or suppliers (the "Digital Entities"), as applicable, and, to the maximum extent allowed by applicable law, the Digital Entities expressly disclaim all warranties, express or implied including, but not limited to, implied warranties of merchantability and fitness for a particular purpose and any warranty of non-infringement. The Digital Entities do not warrant, guarantee, or make any representations regarding the use or the results of the use of the Products with respect to performance, accuracy, reliability, security capability or otherwise. You will not hold any Digital Entity responsible for any damages that result from you accessing the Service or using the Products including, but not limited to, damage to any computer, software or systems or portable devices you use to access the same. No oral or written information or advice given by any person shall create a warranty in any way whatsoever relating to any of the Digital Entities.

Digital makes no warranty that any particular CD burner or portable device will be compatible with the software used to download Music Content or other material or that any CD burned using the software to download the Music Content or other material will function in all CD players. It is your sole responsibility to ensure that your system(s) will function correctly.

Under no circumstances shall any Digital Entity be liable for any unauthorised use of the Service, Music Content or any other materials.

Under no circumstances shall any Digital Entity be liable to you for any consequential, incidental or special damages (including damages for loss of business profits, business interruption, loss of business information, and the like) arising out of the use of or inability to use the Products, even if the Digital Entity has been advised of the possibility of such damages.

GENERAL PROVISONS APPLICABLE TO BOTH BOOMKAT & DIGITAL

21. CHILDREN

If you are under 18 you may only purchase goods from Us or make use of the Service with the involvement of a parent or guardian.

22. CREDIT CARD SECURITY

We and Digital both place great importance on keeping secure the credit card details you provide and to that end We and Digital use security systems which comply with the Payment Card Industry Data Security Standard, a worldwide standard for data protection across the payment industry.

23. FORCE MAJEURE

We shall have no liability to you for any failure to deliver any items which you have ordered or any delay in doing so or for any damage or defect to goods delivered that is caused by any event or circumstance beyond our reasonable control including, without limitation, strikes, lock-outs and other industrial disputes, breakdown of systems or network access, flood, fire, explosion or accident.

24. LIMITATION OF LIABILITY

In the event that either We or Digital are held to be in breach of the Conditions the extent of any such liability shall be limited to loss that would have been reasonably foreseeable by you and Us or Digital (as the case may be) at the time the contract between you and Us and/or Digital (as the case may be) was formed (as determined in accordance with the foregoing provisions) and in any event any liability of Us or Digital (as the case may be) shall be limited to the value of the goods ordered by you in the relevant transaction. Nothing contained in the Conditions shall be deemed however to limit Our or Digital's (as the case may be) liability for death or personal injury arising as a result of negligence on the part of Boomkat or Digital (as the case may be). To the extent that any disclaimer or limitation on damages or liability in these Conditions is prohibited or limited by applicable law, then Boomkat and Digital (and if applicable the Digital Entities) shall be entitled to the maximum disclaimers and/or limitations on damages and liability available at law or in equity and in no event shall such damages or liability exceed £100.00.

25. THIRD PARTY RIGHTS

Except for our affiliates, directors, employees or representatives, a person who is not a party to this agreement has no right under the United Kingdom Contracts (Rights of Third Parties) Act 1999 to enforce any term of this agreement but this does not affect any right or remedy of a third party that exists or is available apart from that Act.

26. LAW AND LEGAL NOTICES

These Conditions and any other terms or documents referred to herein represent your entire agreement with Us and Digital with respect to your use of the services offered by them respectively. If any part of the Conditions is held invalid or unenforceable, that portion shall be construed in a manner consistent with applicable law to reflect, as closely as possible, the original intentions of the parties, and the remaining portions shall remain in full force and effect.

The laws of England and Wales govern the Conditions and your use of the Service and the Tracks. You agree that the English Courts have jurisdiction over any claim or dispute whether with Us or with Digital or relating in any way to your account or your use of the Service or the Tracks.

Privacy

Boomkat are committed to protecting and respecting your privacy.
We do not send unsolicited emails to customers, and do not pass on
your private details to any third parties.

This policy (together with our terms of use: www.boomkat.com/terms)
and any other documents referred to on it sets out the basis on which
any personal data we collect from you, or that you provide to us,
will be processed by us. Please read the following carefully to
understand our views and practices regarding your personal data
and how we will treat it. By visiting boomkat.com you are accepting
and consenting to the practices described in this policy.

INFORMATION WE MAY COLLECT FROM YOU

We may collect and process the following data about you:

Information you give us. You may give us information about
you by filling in forms on our site http://boomkat.com or by
corresponding with us by phone, e-mail or otherwise. This
includes information you provide when you register to use our
site, subscribe to our service, search for a product, place an
order on our site, enter a competition, promotion or survey,
or when you report a problem with our site. The information
you give us may include your name, address, e-mail address
and phone number, financial and credit card information, or
any other personal description.

Information we collect about you. With regard to each of your
visits to our site we may automatically collect the following
information:

technical information, including the Internet protocol (IP)
address used to connect your computer to the Internet, your
login information, browser type and version, time zone setting,
browser plug-in types and versions, operating system and platform;

information about your visit, including the URL clickstream to,
through and from our site (including date and time); products
you viewed or searched for; page response times, download errors,
length of visits to certain pages, page interaction information
(such as scrolling, clicks, and mouse-overs), and methods used
to browse away from the page

COOKIES

Our website uses cookies to distinguish you from other users of our
website. This helps us to provide you with a good experience when
you browse our website and also allows us to improve our site. For
more information on the cookies we use and the purposes for which
we use them see our Cookie Policy further down the page.

USES MADE OF THE INFORMATION

We use information held about you in the following ways:

Information you give to us. We will use this information:

To process your orders

to carry out our obligations in providing you with the
information, products and services that you request from us;

to provide you with information about other goods and services we
offer that are similar to those that you have already purchased or
enquired about;

to provide you with information about goods or services we
feel may interest you.

to notify you about changes to our service;

to ensure that content from our site is presented in the most
effective manner for you and for your computer.

Information we collect about you. We will use this information:

to administer our site and for internal operations, including
troubleshooting, data analysis, testing, research and statistical
purposes;

to improve our site to ensure that content is presented in the
most effective manner for you and for your computer;

to allow you to participate in interactive features of our
service, when you choose to do so;

as part of our efforts to keep our site safe and secure;

to make suggestions and recommendations to you and other users
of our site about goods or services that may interest you or them.

DISCLOSURE OF YOUR INFORMATION

We may share your personal information with any member of our
group, which means our subsidiaries, our ultimate holding company
and its subsidiaries, as defined in section 1159 of the UK Companies
Act 2006.

We may disclose your personal information to third parties
If we are under a duty to disclose or share your personal data
in order to comply with any legal obligation, or in order to
enforce or apply our Terms of Website Use (www.boomkat.com/terms)
and other agreements; or to protect the rights, property, or safety
of Boomkat Limited, our customers, or others.

WHERE WE STORE YOUR PERSONAL DATA

The data that we collect from you may be transferred to, and stored
at, a destination outside the European Economic Area ("EEA"). It may
also be processed by staff operating outside the EEA who work for us
or for one of our suppliers. Such staff maybe engaged in, among other
things, the fulfilment of your order, the processing of your payment
details and the provision of support services. By submitting your
personal data, you agree to this transfer, storing or processing.
We will take all steps reasonably necessary to ensure that your
data is treated securely and in accordance with this privacy policy,
all information you provide to us is stored on our secure servers.

We take the security of our website and of your transactions
extremely seriously. We encrypt all traffic involving personal
data with industry-standard SSL certificates and we are also PCI
compliant - meaning that we follow all current data security
standards and undergo weekly scans monitoring our security status.

Additionally, we do not store any card details at all, all payments
are handled using a system of Tokenisation which is an
industry-standard method of secure payment handling. When you place
an order with us payment is either handled via your Paypal account
or if you choose to pay by credit/debit card we create a "Token"
with your payment details which is stored by the Bank payment gateway.
When you return to make a purchase it basically reactivates the
"Token" so no details need to be entered again and those details
are not stored by us.

Where we have given you (or where you have chosen) a password
which enables you to access certain parts of our site, you are
responsible for keeping this password confidential. We ask you
not to share a password with anyone.

Although we will always do our best to protect your personal data, we
cannot 100% guarantee the security of your data transmitted to our site
due to the nature of the internet. Any transmission is at your own risk,
but once we have received your information, we will always use strict
procedures and security protocols to try to ensure the safety of that
information.

CHANGES TO OUR PRIVACY POLICY

Any changes we may make to our privacy policy in the future will be
posted on this page. Please check back to see any updates or changes
to our privacy policy.

CONTACT

Questions, comments and requests regarding this privacy policy are
welcome and should be addressed to contact@boomkat.com.

COOKIE POLICY

Our website uses cookies to distinguish you from other users of our
website. This helps us to provide you with a good experience when
you browse our website and also allows us to improve our site. By
continuing to browse the site, you are agreeing to our use of cookies.